Sigma 210101 18-35mm F1.8 DC HSM Lens for Canon - Black

Product Information

By the way, you may enable Movie Cropping and shoot “4K Crop” video with any lens, not just APS-C. I’m simply pointing out that — unlike still photos — 4K video on the R5 is higher quality than you may expect. No overheating in 4K Crop

In the real world, this lens is too darn heavy for what it is —and it looks long enough to be a telephoto, marking you as a pervert in public. While you're making wide shots, others are going to presume you're using a telephoto lens for inappropriate purposes. I saw no coma with this aspherical lens! Whoo hoo; coma has always been the weak point of fast wide zoom lenses, and Sigma made it go away. As you can see in this photo, points of light stay as points. Bravo!

Black Friday

The footage scale is illegible; it's tiny and in dark gray. It's also usually covered by the plastic window, so I hope you prefer the meters scale, which is a little better. Sigma USA's 3-year warranty is superior to Canon's standard 1 year warranty (Sigma's international warranty is also 1 year). As an off-brand lens it has unproven (with me) service facilities, and unknown future parts availability. When the HSM motor dies, you're dead unless you can get a replacement part. The total light has nothing to do with the exposure, it's the intensity of light (light per unit area) at the sensor that matters (right?). A smaller sensor doesn't mean you need a higher ISO to shoot at the same equivalent exposure. If that were the case the center of a FF would be 1 stop darker than the rest by the above logic. It's fast enough and super-accurate so that I can take advantage of this lens' great sharpness at f/1.8.

After further testing, Sigma has concluded both autofocus and optical image stabilization (for applicable lenses) work 'without any issues' on the following lenses when used with Canon EOS R mirrorless cameras via the EF-EOS R mount adapter or Control Ring EF-EOS R mount adapter:In this set of evaluations, we’ve compared the Sigma zoom with the highest performing full-frame primes of the same focal lengths – 18mm, 24mm and 35mm. While it might seem a little unusual, the lenses (all high speed models) reflect the state of the art in that format and when mounted on an APS-C DSLR offer the same angle of view (at each focal length) as the Sigma. Because the Sigma is an APS-C lens, full-resolution 8K video isn’t possible. The R5 automatically removes 8K options from Movie Record Quality when mounted. Final thoughts Close-up image quality isn't bad either, at least when stopped down a bit. The image is soft wide open, but sharpens up pretty well in the centre at F2.8. The corners rather lag behind, but continue to improve on stopping down until our flat test chart shot looks sharp corner-to-corner at F11. There's minimal distortion, and only the slightest hint of blue/yellow chromatic aberration. Colour balance When used on a DX or APS-C camera, it sees an angle of view similar to what a 28-55mm lens sees when used on an FX or 35mm camera.

On the test charts and using the Datacolor SpyderLensCal, the 18-35 f/1.8 focused very accurately with excellent consistently. The word "groundbreaking" seems inadequate for describing the awesomeness of the Sigma 18-35mm f/1.8 DC HSM Art Lens. Zooming to 24mm improves sharpness. At f/1.8 the lens scores 2,470 lines, and it peaks at f/4 at 2,690 lines. At 28mm the lens manages 2,457 lines at f/1.8 and improves to 2,562 lines by f/4. Zooming all the way in to 35mm delivers 2,399 lines at f/1.8 and peaks at 2,528 lines at f/4. Edge performance when zoomed in a bit is consistently good; better than 1,800 lines at every tested focal length and aperture. And that’s the confusing thing about “4K Crop” video on the R5, for when an APS-C lens like the Sigma is attached, it may appear the R5 is shooting in regular 4K because 4K HQ mode is disabled. But it’s not. Behind the scenes, with Movie Cropping enabled, the R5 is oversampling 5.1K when shooting 4K.

Vignetting

We didn't experience much "hunting", either in good or bad light, with the lens accurately focusing almost all of the time. It's also a very quiet performer, thanks to the built-in HSM (Hyper Sonic Motor), which makes this lens well-suited to video recording.